Saturday, 19 May 2018

ELWAY


























"for the sake of the bit"
Year:    2018
Country:    US
City:    Fort Collins, CO
Label:   Red Scare
Format:    CD, LP
Tracks:    12
Time:    34 min.
Genre:    rock
Style:            Indie Rock













Elway is an american punk band from Fort Collins, Colorado. Their sound is a unique and inebriated take on a time-tested formula: aggressive punk rock with soaring melodies coupled with lyrics ranging from that of the sad sap to the indignant atheist with a bevy of homespun dick jokes. Biography. The original name of the band was 10-4 Eleanor. As 10-4 Eleanor they release an album. ...Too Bad..., and an EP, Words Cannot Express How Much Fuck This Band. Delusions, the first album released under the name "Elway," was released via Red Scare Industries in 2011. Elway released Leavetaking on June 25, 2013 via Red Scare Industries.
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SWELL MAPS


























"a trip to marineville"
Year:    1979
Country:    UK
City:    Birmingham
Label:   Mute
Format:    CD, LP
Tracks:    18
Time:    60 min.
Genre:    rock
Style:            Post Punk











Swell Maps were a british punk group of the 10s from Birmingham, that foreshadowed the birth of post-punk. Influenced by the disparate likes of T. Rex and the German progressive outfit Can, they created a new soundscape that would be heavily mined by others in the post-punk era. Despite existing in various forms since 1975, Swell Maps only really came together as a musical entity after the birth of British punk rock. Consisting of brothers Epic Soundtracks (real name Kevin Godfrey) and Nikki Sudden (real name Nicholas Godfrey) two Solihull based teenagers, plus Richard Earl, David Barrington, John Cockrill and Jowe Head, the band cut the single "Read About Seymour" as their debut in 1977, soon after the brothers left Solihull School (also home of Spizzenergi). It is widely considered one of the classic punk era singles. Epic's drumming mixed with Nikki's unique melodies crafted over the assorted threads cast by the six musicians set the band apart from the others. After recording their first John Peel session Swell Maps went into WMRS studio to record their first album A Trip to Marineville, which was released in 1979. With hard rocking punk numbers like "H.S. Art" interspersed by ambient instrumentals and other experimental interludes like "Gunboats", the album marked the band out as innovative non-musicians. The album went #1 on the new Independent chart.

The band cut one more album, The Swell Maps in 'Jane From Occupied Europe', in 1980, which pushed further into post-punk territory. They displayed their ingenuity for creating everything from industrial surf instrumentals like the opener "Robot Factory" to perverse ballads like "Cake Shop Girl". Even while they were falling apart during these sessions they were pushing the musical boundaries beyond what punk originally had to offer. They sought to release much of their early forays in lo-fi experimenation in the compilation, Whatever Happens Next..., before splitting up.

Since their split the legend of the Swell Maps has grown, through their influence on the C86 bands, lo-fi, and other pioneers like Sonic Youth and Pavement. Individual members of the band (especially Nikki Sudden, Epic Soundtracks and Jowe Head) went on to solo careers. The band's catalogue has recently been remastered and reissued and further dips into their archives can be expected. An EP of especially zany tracks was released under the name of the Phones Sportsman Band in 1980. After an interval of over 25 years away from music, the Phones Sportsman Band has now reformed in January 2008.
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Saturday, 5 May 2018

WIRE


























"the pink flag"
Year:    1977
Country:    UK
City:    London
Label:    Pink Flag
Format:    CD, LP
Tracks:    21
Time:   40 min.
Genre:    rock
Style:            Punk            Avantgarde













Wire were born at the dawn of punk, but they became the quintessential art band. In the three closing years of the 1970s, the English quartet had one of the greatest opening runs of any band, shifting to post-punk before punk began to go stale and forging three masterpieces in a creative furnace so hot it burned out by the end of 1980. Those albums-- Pink Flag, Chairs Missing, and 154-- still sound remarkably fresh, and have been re-mastered and reissued with their original vinyl tracklistings, both individually and as part of a five-disc set, 1977>1979, that also includes live performances recorded in London (in 1977) and New York (1978). Pink Flag was a fractured snapshot of punk alternately collapsing in on itself and exploding into song-fragment shrapnel. The record's minimalist approach means the band spends only as much time as needed on each song-- five of them are over in less than a minute, while a further nine don't make it past two. It's clear you're not getting a typical 1977 punk record from the opening seconds of "Reuters", an echoing bass line that quickly comes under attack by ringing but dissonant guitar chords. The tempo is arrested, lurching along to the climactic finale when Colin Newman, as the narrating correspondent, shouts "Looting! Burning!" and then holds out the lone syllable of "rape" twice over descending chords, which grind to a halt over chanting voices. It's all the bombast, tension, and release of a side-long prog opus in just three minutes. As if to underscore that this isn't a predictable album, the next song, "Field Day For the Sundays", rages to a close in just 28 seconds. The band acknowledges the thin line between advertising jingles and pop songs on the 49-second instrumental "The Commercial", but also write a few genuinely hummable songs, like "Three Girl Rhumba", whose guitar part is actually more of a tango, and the more identifiably punk "Ex-Lion Tamer". "Strange," meanwhile, makes the mistake of sticking around, only to be eaten by spacey amp noise and quivering ambience-- a taste of things to come (*Review writen by Joe Tangari ).
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"chairs missing"
Year:    1978
Label:    Pink Flag
Format:    CD, LP
Tracks:    15
Time:    40 min.
Genre:    rock
Style:            Post Punk            New Wave




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"154"
Year:    1979
Label:    Pink Flag
Format:    CD, LP
Tracks:    13
Time:    40 min.
Genre:    rock
Style:            New Wave            Experimental




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"send"
Year:    2003
Label:    Pink Flag
Format:    CD
Tracks:    13
Time:    36 min.
Genre:    rock
Style:            Post Punk










if revival acts ran the world, we'd all still be searching for the wheel. Now, some of these bands are great at what they do-- if we were ever to eventually discover the wheel, after all, you can bet it would be the roundest goddamned wheel humanity had ever known-- but tail-chasing can only go so far. So in hindsight, is it that surprising that Wire's two Read & Burn EPs from last year marked such a successful return after a decade-long hiatus? Simultaneously resisting the cop-out of cannibalizing the sound of their classic late-70s material, and dodging any self-conscious stab at avant-garde, Wire sound nearly as essential now as they ever have. Who ever said comebacks were tough? All it takes is a preternatural sense of musical trends and history, a cunning knack for timing, and the willingness to completely reinvent yourself. "Send" continues in the Wire tradition of post-punk, avantgarde and original compositions, but perhaps incorpored also elements of noise rock and different type of distortions and noises, both on instruments and also on voices. Then in 2003 the album was quite unnoticied but the true is this recording is notable and highly recommended for those usual Wire followers.
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"object 47"
Year:    2008
Label:    Pink Flag
Format:    CD, LP
Tracks:    9
Time:    40 min.
Genre:    rock
Style:            Indie Rock












The legendary punk band's 11th studio album is its first without Bruce Gilbert, making it an unexpected turning point despite appearing more than 30 years into Wire's career. The album opens with a rush on "One of Us", with Graham Lewis' sharp and strongly melodic bassline, Grey's efficient beat, and a Colin Newman vocal that may be his best since the band reunited in 1999-- his refrain ("one of us will live to rue the day we met each other") is both ominous and oddly celebratory. In fact, the track is so strong that the rest of the record feels like a bit of a let-down in contrast. At least at first. While none of the other songs share the opener's bracing immediacy, they eventually reveal more subtle charms and innovations on repeated listens.

Part of this replayability stems from the fact that the album's nine songs are widely varied. "Perspex Icon" finds Newman layering guitar tracks and filtering his voice to fit the straightforward punk his bandmates give him-- one of few times the band attempts to compensate for Gilbert's absence with overdubs. On "Circumspect", they simply let Newman's circular guitar figure get swallowed by undulating bass while he sings in a subdued, almost tired tone. "Four Long Years" is effortlessly rhythmic, but it still has that very distinctive sonic coloration-- mechanistic but warm-- that's characterized Wire's reunion records. Neither post-punk nor gothic rock but a bright, colorful and optimistic effort closer to indie rock or simply pop.
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"change becomes us"
Year:    2013
Label:    Pink Flag
Format:    CD, LP
Tracks:    11
Time:    40 min.
Genre:    rock
Style:            Alternative Rock





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"idem"
Year:    2015
Label:    Pink Flag Records
Format:    CD, LP
Tracks:    11
Time:    39 min.
Genre:    rock
Style:            Post Punk





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"nocturnal koreans"
Year:    2016
Label:    Pink Flag
Format:    CD, LP
Tracks:    8
Time:    28 min.
Genre:    rock
Style:            Indie Rock




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"silver / lead"
Year:    2017
Label:    Pink Flag
Format:    CD, LP
Tracks:    10
Time:    40 min.
Genre:    rock
Style:            Post Punk






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Monday, 30 April 2018

FIDDLEHEAD


























"springtime and blind"
Year:    2018
Country:    US
City:   Boston
Label:    Run For Cover
Format:    CD, LP
Tracks:    13
Time:    29 min.
Genre:    rock
Style:            Alternative Rock












Fiddlehead’s debut LP Springtime and Blind is an exploration of grief both introspective and through the insight of others. Following the release of their Out of the Bloom EP on Lockin Out Records, the Boston-based band have created a debut LP that shares an anguishing, relatable story of love and loss through the catharsis of spirited, loud alternative rock and post-hardcore. Consisting of guitarist Alex Henery (also of Basement), vocalist Patrick Flynn and drummer Shawn Costa (both of Have Heart), Fiddlehead explore musical styles different from their other projects while bringing a familiar energetic and emotional core to the collaboration.

Springtime and Blind stemmed from Pat’s loss of his father. Flynn looks at how his mother coped with the situation- losing her spouse, her center of gravity -writing the lyrics as an emotional catharsis for both of them. Like the pain both he and his mother experienced, “a wild grief so well hidden,” the songs on this album hide the pain of loss beneath a layer of punchy, energetic instrumentals. As the title "USMA" explains, the song is about the United States Military Academy where Flynn’s father was buried. It is a refreshingly energetic song from the album, that explores love not only for a person, but for a beautiful place and how that place grows up with you. The first single to be released from Springtime and Blind, “Lay Low,” opens with a slow guitar riff that seemingly explodes with the first beatof the drum. “Lay Low” pushes Flynn’s vocals to their breaking point ashe cries out. Flynn has self-described the song as the concept that “lifecontinues on,” even when it seems to be too difficult to handle. It’s an overwhelming sense of change that brings with it the feeling of dread, a feeling that as the song says is “too much for me.” At the center of the album is “Poem You,” a boldly personal song. Embedded between the vulnerable “I’ll see you again” of the chorus is a rather-loaded sound clip of Flynn’s father speaking on voicemail; “I’ll get back to you as soon as I can” the electronic voice seems to reply. The final track of the album, “Widow in the Sunlight” finishes the album on a lighter note. The line “sunlight, moonlight, this life, next life” evolves into a mantra throughout the song - a cyclical look at things constantly fluctuating but perhaps eventually improving. There’sa taste of hope for what the next life brings, a feeling of reunion. While the process of writing and recording helped Flynn cope with his personal loss there’s no doubt it carries a universal message that can help ease others’ loneliness. A contrast to itself, Springtime and Blind is a multidimensional and relatable journey through its cathartic message and spirited instrumentals.
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Friday, 27 April 2018

WRONG


























"feel great"
Year:    2018
Country:    US
City:    Miami, FL
Label:    Relapse
Format:    CD, LP
Tracks:    11
Time:    30 min.
Genre:    rock
Style:            Alternative Rock














Miami alternative rock, post-hardcore WRONG’s (members of TORCHE, ex-Capsule, ex-Kylesa) sophomore album Feel Great will make you feel the exact opposite of great. A moody and eclectic record, albeit the moods are pissed and the eclecticism is different levels of pissed. On Feel Great, WRONG has mastered the arts of bludgeoning groove, riff, tone, and grit, creating eleven songs that are faster, heavier, angrier yet also more melodic than their breakout debut. The album was self-produced by the band and recorded at various studios around Miami with mixing handled by guitarist Ryan Haft and artwork by Rick Smith of TORCHE. WRONG is the exact type of rock band the world needs in 2018, uncompromising, aggressive and ready to tear the whole damn place to bits. WRONG formed in 2014 from the ashes of punk/hardcore trio Capsule and streamrolled onto the scene in 2014 with its promising debut EP Stop Giving (Robotic Empire). Featuring former members of Torche and Kylesa amongst their ranks, WRONG play Helmet / Unsane inspired heavy noise rock and put on an appropriately unrelenting live show along with the music. In its brief lifespan, the band has already been described by Noisey as an “outfit with impeccable credentials and a firm handle on the art of the bludgeoning groove” and by PunkNews as “very promising indeed” - promising enough to get signed by Relapse Records in the summer of 2015, after the band made waves on its first North American tour with now-labelmates Torche and Nothing.
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Tuesday, 24 April 2018

AMON TOBIN


























"bricolage"
Year:    1997
Country:   Brazil
City:    Rio de Janeiro
Label:   Ninja Tune
Format:    CD, LP
Tracks:    14
Time:    60 min.
Genre:    electronic
Style:           Breakbeat            Downtempo






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"permutation"
Year:    1998
Label:    Ninja Tune
Format:    CD, 2 x LP
Tracks:    12
Time:    60 min.
Genre:  electronic
Style:            Breakbeat            Downtempo





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"supermodified"
Year:    2000
Label:    Ninja Tune
Format:    CD
Tracks:    12
Time:    60 min.
Genre:    electronic
Style:            Breakbeat            Downtempo





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"isam"
Year:    2011
Label:    Ninja Tune
Format:    CD, 2 x LP
Tracks:    12
Time:    60 min.
Genre:    electronic
Style:            Rhythmic Noise             Experimental













At first ISAM unfolds like a stunning natural progression: opener "Journeyman" is as majestic as it is imposing, like waking up at the foot of some giant ornate citadel and then slowly craning your neck skywards to find stars bursting overhead. After the blinding opening theatrics, you're rocketed between small pockets of sculpted chaos, a disorienting effect that manages to become commonplace once ISAM starts leaping from one idea to the next without warning. In the meantime, however, you are left to fend for yourself a while longer as the first track winds down, and the sonic ripples from some kind of sub-spatial menace begins to circle the edge of your perceptions. Once "Piece of Paper" opens, this formless presence starts to morph and flail: ratcheting itself around your senses and violently slamming against walls unseen. From there, things just get weirder. What follows is an exhausting barrage of synaesthetic design, where everything from alien hydraulics to percussive steel fractals are allowed to take shape, all forming and disassembling at will within the realm of impossibility. It's definitely overwhelming; for better or worse, this kind of heavily abstracted layering causes you to completely miss most of the contextual cues you would use to identify any natural sources, to the point where the hypervivid bone-crunch in "Lost & Found" (functionally, the snare) seems almost comically out of place. That being said, it's not until around halfway mark that listening become grating due to ISAM's biggest flaw; even while presenting his most caustic experiments, Tobin has always taken the time to reinforce the romantic element of his work. It's those exotic flourishes and sweeping melodies that tend to justify these album long statements, making them as subtle as they are sinister, and more importantly, hauntingly expressive. They are here on ISAM, but they seem noticeably underdeveloped when compared to the ones found on Foley Room or Supermodified; as a result, they fail to offset the album's brutal physicality. Although primed to reveal detail after detail upon further listening, ISAM still remains a bittersweet affair, impressive yet unfulfilling in the same way that many Hollywood blockbusters tend to be. The seeds, however, do remain, particularly in the lost memories on display via "Wooden Toy"'s gender-hacked persona. If he can probe deeper into this incarnation with the tools he has now, then perhaps Tobin's real opus is still yet to come (*Review writen by Zack Kerns ).
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Thursday, 19 April 2018

UNKLE
























"psyence fiction"
Year:    1998
Country:    UK
City:   London
Label:    Mo Wax
Format:    CD, 2 x LP
Tracks:    11
Time:    55 min.
Genre:    electronic
Style:            Downtempo            Breakbeat














Musically, the album features all the standard DJ Shadow touches (terror-filled vocal samples, unpredictable drumming, airy, atmospheric melodies), yet seems somewhat subdued. That's probably down to the vocalists - DJ Shadow clearly isn't used to writing with other people, and taking a back seat to somebody else. The musical highlights of the album come when Shadow works on his own (UNKLE Main Theme), or when he strips it back the furthest (Rabbit In Your Headlights). Nursery Rhyme and Bloodstain are exceptions to this, though that may well be because the vocalists on these tracks demand the least of the listener's attention. (One assumes Richard Ashcroft's huge ego led to Lonely Soul sounding the way it does.) Psyence Fiction is a strange record, then. It's more interesting than captivating, which is not what you want from a man who made one of the most capitivating records ever just two years previous. Yet moments here are pure genius, and even when Shadow is coasting (Celestial Annihilation, for instance), it's great stuff. Perhaps Psyence Fiction is the greatest indicator of Shadow's genius for just that reason - it's still inferior to his other work, yet most can only dream of these heights. Definitely worth a look ( Password: www.thetimeisdead.com ).
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Monday, 9 April 2018

BOYS NOIZE


























"oi oi oi"
Year:    2007
Country:   Germany
City:   Berlin
Label:   none
Format:    CD, LP
Tracks:    13
Time:    60 min.
Genre:    electronic
Style:            Techno            Electro













BOYS NOIZE is the stage name of Berlin-based DJ and producer ALEX RIDHA. Ridha (born in 1982, Hamburg) started producing and DJing at early age to find himself supporting the likes of Felix Da Housecat and DJ Hell in a matter of time. Nowadays Ridha himself is known as a one of the most valued electronic artists, awarded with the Independent Music Award in 2010 as well as 3 years in a row Best Electronic Artist on Beatport.¬†He has a refreshing approach: not afraid to break new grounds, beaming a myriad of influences from his hip-hop and disco roots to create an innovative sound. His DJ-sets are equally uplifting and he's regarded by many as one of the worlds' best DJs, not only technically but also as a showman. Seamlessly mixing and remixing on the spot, Ridha never fails to deliver high-powered and gripping sets: unforgettable experiences for the witnesses. Ridha released his early work on labels such as International Deejay Gigolos Records, Kitsuné Music and Turbo Recordings.In order to retain full artistic freedom however, he established his imprint Boysnoize Records in 2005. His highly anticipated long players "OI OI OI" and its successor "POWER", the two long players that included contemporary anthems such as "Don't Believe The Hype", "&Down" and "Jeffer". He remixed David Lynch, N.E.R.D, Depeche Mode, Snoop Dogg and The Chemical Brothers amongst many other great artists and became a producer of note, highly sought after having worked with Kelis, UK rapper Kano and Black Eyed Peas to name a few. Chilly Gonzales' "Ivory Tower" is his first fully produced and co-written album which was released in August 2010. He has further collaborated with his friend and fellow Erol Alkan: The first record "Death Suite" / "Waves" was released on Ridhas imprint BNR, follow up "Lemonade" / "Avalanche" came out on Erol's label Phantasy Sound. An "Avalanche" re-release, a new version featuring Brit-God Jarvis Cocker, is due for early 2011. Ridha is currently working on the forthcoming Spank Rock album and as well as with New York's finest Scissor Sisters. His recent release of original Boys Noize tracks in September 2010 celebrated the 50th release on Boysnoize Rec as well as the launch of the first sublabel BNR TRAX which presented its first release in October 2010.
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"power"
Year:    2009
Label:    none
Format:    CD, 2 x LP
Tracks:    12
Time:    60 min.
Genre:    electronic
Style:            Techno            Electro





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